Zoolander

2001

2.5/5 Stars

“Mermaaaaaaaaaan…. Mermaaaaann!”

Ben Stiller acts as writer, director, and star of this silly and irreverent lampooning of Hollywood, the fashion industry, and the celebrities therein. The plot is intentionally absurd – something involving the none-too-bright male model Zoolander (Stiller) being suckered into an international conspiracy to kill the Prime Minister of Malaysia. The story takes a back seat to the opportunity for Stiller to fill the screen with his countless celebrity friends and family members (his mother, father, and wife all have speaking roles in the film).

This is generally a fun experience, as the audience feels a part of the joke. Good performances by Owen Wilson as Zoolander’s arch-rival Hansel, Will Ferrell as the evil fashion designer Mugatu, and David Duchovny as a retired hand model all help to keep the movie afloat for what can - at times - feel like a long 89 minutes.

Cameos from David Bowie, Winona Ryder, and Billy Zane, along with the “mining sequence” featuring Jon Voight and Vince Vaughn are also fun and worth noting.

The movie is slowed down by the flat performance of Christine Taylor (Stiller’s wife), as the straight-laced reporter Matilda Jeffries. Playing the only “normal” character in a movie made up of cartoon characters might not have been easy, but I came away feeling like she should have had more fun with the role nonetheless. Her speech on bulimia and obesity three-quarters to the movie felt out of place in this setting and the performance as a whole seemed one-note and a drag.

Overall though, a light and harmless comedy with lots of quotable nonsense (“I feel like I’m taking CRAZY PILLS!”), some fun characters, and not much else.

Walk the Line

2005

4.5/5 Stars

Most of James Mangold’s 2005 biopic of Johnny Cash takes place as a flashback. The opening shots frame Folsom Prison, with its high fences and armed sentries. As the camera takes us past the perimeter and the viewer draws nearer to the main building, a swell of rhythmic foot stomps and hand clapping can be heard. This noise gets louder and louder until we are inside the prison and we get our first glimpses of “the man in black” himself, resting a moment prior to resuming his legendary concert at the prison. One can’t help but get sucked in to the air of excitement leading up to this pivotal moment- and then, as Cash examines a table saw, we pull away from the anticipated crescendo and find ourselves in rural Arkansas, where Cash’s story began.

What follows is a brutally honest story of the rise, fall, and ultimate redemption of Johnny Cash. There is a great deal to love about the film. The music is central and treated brilliantly, the acting- especially from Joaquin Phoenix as Cash and Reese Witherspoon- is outstanding, and a number of the set pieces are exciting and believable. A personal favorite of mine involved an unknown Cash stumbling into Sam Phillip’s small SUN Studio. The tone of this sequence is pitch perfect and a delight for any fan of the genre and the legendary music that came from that label.

For fans of the music, there is much to take in. Phoenix and Witherspoon perform all of the (Cash/Carter) songs themselves while there are a number of other strong musical performances from actors emulating Elvis, Jerry Lee Louis, and Roy Orbison (I also could hear Wanda Jackson’s “Fujiama Mamma” offscreen at one point). The music is appropriately accorded the central role it deserves and it makes watching the movie a joy.

Perhaps even more impressive than the quality of the musical performances is the acting performance delivered by Witherspoon. From the moment she is introduced on screen, she is electrifying. Rarely does a character “pop” from the screen with as much fire and sheer likeability as Witherspoon does here. For his part, Phoenix keeps pace and the performers seem to play off one another, resulting in a love story that keeps the viewer engaged throughout.

What struck me most on re-watching the film for the first time since I had seen it in the theater back in 2005, was how human both Cash and Carter seemed. They are never put on a pedestal that makes their experience seem alien. Even when Cash is at the height of his success, he is portrayed as a person with real problems - not as a legendary musician beyond reproach. Cash’s ultimate recovery from substance abuse is the result of personal growth and the gentle guidance of a strong companion.

The movie runs a little bit long at points, but this is a very minor quip. In total, Walk the Line is a fantastic biopic of an American icon.